DOCSLIB.ORG

Free in the Neighborhood Reissue Vol II No. I Summer 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Free in the Neighborhood Reissue Vol II No. I Summer 2019 Free In The Neighborhood Summer 2019 Reissue Vol II No. I Letter From the Editors The Value of Valor y Cambio Carta De Los Editores.......................................2 El Valor del Valor y Cambio...............................33 An Interview with Nandini Bagchee About Power To the People: LESReady! Looking the Carts Project To Implement “Community Energy” Una Entrevista con Nandini Bagchee sobre Poder Para el Público: LESReady! Busca el Proyecto Carritos...........................................4 Implementar “Energía Comunitaria”.........40 The Lower East Side Coastal Resiliency Illustration by Javier Cruz Winnik Plan Ilustración de Javier Cruz Winnik...............46 El Plan de Resiliencia Costera del Lower East Side................................................................16 Buried Histories of the Lower East Side Historias Enterradas del Lower East Side .................................................................................26 Letter From the Editors Dear Readers, Last summer, we reintroduced The Quality of Life in Loisaida/ Calidad de Vida en Loisaida, a magazine that was originally published in March 1978 and had been out of print since 1991. The team at the Loisaida Center has once again decided to publish a new issue of the magazine as last year’s issue was received with an overwhelmingly warm response. The central theme for this issue is about change. As any member of this com- munity can attest, changes in Loisaida in the last few years has led us to a critical moment of reflection and evaluation. As Loisaida is faced with challenges of social inequity and the consequences of climate change, what are we doing to ensure that our community continues to progress and thrive? The history of Loisaida is defined by changes led by local activists and grassroots activism. Our issue today focuses on the work of current art- ists, activists, and community members on topics of great concern in Loi- saida in regards to changes in the neighborhood. We invite you to engage with the material beyond the pages of this magazine and with your own communities and life. Special thanks to Libertad Guerra, Andrea Gordillo, and Alejandro Epi- fanio Juan for their support, guidance, and patience in the creation of this issue. If you are interested in contributing to future issues of The Quality of Life in Loisaida/ Calidad de Vida en Loisaida, feel free to contact us at info@ loisaida.org. In Solidarity, Wilfred Guerron Dylan Garcia Carta De Los Editores Queridos lectores, El verano pasado, reintroducimos The Quality of Life in Loisaida/ Cali- dad de Vida en Loisaida, una revista que se publicó originalmente en mar- zo de 1978 y que había estado agotada desde 1991. El equipo del Centro Loisaida ha decidido una vez más publicar un nuevo número de la revista, ya que el número del año pasado fue recibido con gran acogida. El tema central de este número es el cambio. Como puede atestiguar cualquier miembro de esta comunidad, los cambios en Loisaida en los últimos años nos han llevado a un momento crítico de reflexión y evaluación. Mientras Loisaida se enfrenta a los desafíos de la inequidad social y las consecuen- cias del cambio climático, ¿qué estamos haciendo para asegurar que nues- tra comunidad continúe progresando y prosperando? La historia de Loisaida se define por los cambios liderados por activis- tas locales y el activismo de base. Nuestro número de hoy se enfoca en el trabajo de artistas, activistas y miembros de la comunidad sobre te- mas de gran preocupación en Loisaida con respecto a los cambios en el vecindario. Los invitamos a comprometerse con el material más allá de las páginas de esta revista y con sus propias comunidades y vida. Un agradecimiento especial a Libertad Guerra, Andrea Gordillo y Ale- jandro Epifanio Juan por su apoyo, guía y paciencia en la creación de este número. Si está interesado en contribuir a futuros números de The Quality of Life in Loisaida/ Calidad de Vida en Loisaida, no dude en ponerse en contac- to con nosotros en [email protected] En Solidaridad, Wilfred Guerron Dylan Garcia 4 An Interview with Nandini Bagchee About the Carts Project Una Entrevista con Nandini Bagchee sobre el Proyecto Carritos Wilfred Guerron 5 Nandini Bagchee is an Associate Nandini Bagchee es profesora Professor at the Spitzer School of asociada de la Escuela de Arquitectura Architecture at CCNY (CUNY) Spitzer de CCNY (CUNY) y and principal of Bagchee Architects. directora de Bagchee Architects. Su Her research focuses on activism in investigación se centra en el activismo architecture and the ways in which en arquitectura y en las formas en ground-up collaborative building que las prácticas de construcción practices provide an alternative colaborativa desde la base medium for the creation of public proporcionan un medio alternativo space. Nandini is the author of a para la creación de espacios públicos. recently published book on the Bagchee es autora de un libro history of activist-run spaces in recientemente publicado sobre la New York City entitled, Counter historia de los espacios administrados Institution: Activist Estates of por activistas en la ciudad de Nueva the Lower East Side (Fordham York, titulado Counter Institution: University Press, 2018). Bagchee Activist Estates of the Lower East is the co-curator of the exhibition, Side (Fordham University Press, Activist Estates: A Radical History 2018). Nandini es la comisaria de of Property in Loisaida, which will la exposición, Activist Estates: Una critically re-evaluate the place of historia radical de Loisaida, que counter-institutional practices that reevaluará críticamente el lugar de shape the landscape of New York las prácticas contra-institucionales City by juxtaposing the parallel que conforman el paisaje de la ciudad trajectories of different social de Nueva York, yuxtaponiendo las movement groups working in trayectorias paralelas de diferentes solidarity in the Lower East Side. grupos de movimientos sociales que Part of the exhibition includes trabajan en solidaridad en el Lower the Carts Project, a series of carts East Side. Parte de la exposición that were dispersed through the incluirá el Proyecto Carritos, una 2019 Loisaida Festival collecting serie de carritos que se dispersaron a people’s stories and memories of the lo largo del Festival Loisaida 2019 y neighborhood. que recogen las historias y recuerdos de la gente del barrio. WG: Tell me a little bit about the WG: Cuéntame un poco sobre el Carts Project. Proyecto Carritos. NB: The Carts Project was a quick NB: El Proyecto Carritos fue take aimed at announcing the una toma rápida para anunciar la forthcoming exhibit at the Loisaida próxima exposición en el Centro 6 Center based on my book Counter Loisaida basada en mi libro Counter Institution: Activist Estates of Institution: Activist Estates of the the Lower East Side. It began as Lower East Side. Comenzó como una a conversation between Libertad conversación entre Libertad Guerra, Guerra, the Director of the Loisaida la directora del Centro Loisaida, yo Center, myself, and a group of mismo, y un grupo de estudiantes students from the Urban Studies del Programa de Estudios Urbanos Program at Queens College. We del Queens College. Pensamos que thought it would be a great idea sería una gran idea tener estos carros to have these carts as part of the como parte del Festival Loisaida, un Loisaida Festival, an event already evento ya lleno de carros vendiendo 7 full of carts selling food and knick comida y baratijas, para pensar knacks, to think how we might cómo podríamos usar el carro como use the cart as a means to project un medio para proyectar una idea an idea of public/shared space. de espacio público/compartido. The carts were a means to engage Los carros fueron un medio para people during the fair about their involucrar a la gente durante la feria experiences and memories of sobre sus experiencias y recuerdos de Loisaida. This is part of the ongoing Loisaida. Esto es parte del continuo interest I have in “real estate”- what interés que tengo en los “bienes places mean to people, and how they raíces” - lo que los lugares significan have used different spatial strategies para la gente, y cómo han usado to become more politicized in this diferentes estrategias espaciales neighborhood. The carts are mobile para politizarse más en este like most stories- built to travel down vecindario. Los carros son móviles the street and up a block. That’s the como la mayoría de las historias - most exciting part of the carts; they construidos para viajar por la calle y can move in between places and por una cuadra. Esa es la parte más approach people in a familiar, yet emocionante de los carros; pueden inquisitive way. moverse entre lugares y acercarse a la gente de una manera familiar, WG: The Carts Projects is aunque inquisitiva. connected to the book you recently published. Can you talk a bit more WG: El Proyecto Carritos está about the book and its connection relacionado con el libro que has to Loisaida? publicado recientemente. ¿Puedes hablar un poco más sobre el libro y NB: I have a personal history in su conexión con Loisaida? Loisaida (the Lower East Side); I went to college at Cooper Union NB: Tengo una historia personal en and have lived in the neighborhood Loisaida (el Lower East Side); fui a off and on for about 10 years, la universidad en Cooper Union y between 1991 and 2001. The 1990s he vivido en el vecindario de vez en were a formative moment in terms cuando durante unos 10 años, entre of people becoming aware of what 1991 y 2001. Los años 90 fueron un was coming: gentrification, the momento de formación para que la switching around of a neighborhood gente tomara conciencia de lo que that has been traditionally full of se avecinaba: el aburguesamiento, el immigrants and activists towards cambio de barrio, tradicionalmente this kind of developer-oriented, lleno de inmigrantes y activistas, 8 unaffordable neighborhood.
Load more

Recommended publications
  • ACM MM 96 Text ACM MULTIMEDIA 96
    ACM MM 96 Text ACM MULTIMEDIA 96 General Information Technical Program Demonstrations Art Program Workshops Tutorials Stephan Fischer Last modified: Fri Nov 29 09:28:01 MET 1996 file:///C|/Documents%20and%20Settings/hsu.cheng-hsin/Desktop/acmmm96/index.htm[1/28/2010 9:42:17 AM] ACM MM 96 ACM MULTIMEDIA 96 The Fourth ACM International Multimedia Conference and Exhibition ADVANCE PROGRAM 18-22 November 1996 Hynes Convention Center Boston, Massachusetts, USA Co-located with SPIE's Symposium on Voice, Video and Data Communication, and Broadband Network Engineering program and overlapping with CSCW, to be held in nearby Cambridge. Welcome to ACM Multimedia '96 Special Events Conference-at-a-Glance Ongoing Events Courses Technical Papers Panels Registration Course Selections Hotels Conference Organization Welcome to ACM Multimedia '96 In what seems in retrospect to have been an astonishingly short time, multimedia has progressed from a technically- challenging curiosity to an essential feature of most computer systems -- both professional and consumer. Accordingly, leading-edge research in multimedia no longer is confined to dealing with processing or information- access bottlenecks, but addresses the ever-broadening ways in which the technology is changing and improving interpersonal communication, professional practice, entertainment, the arts, education, and community life. This year's program emphasizes this trend: off-the-shelf building blocks are now available to construct useful and appealing applications which are highlighted in the Demonstration and Art venues. In addition to the full complement of panels, courses, and workshops, the conference program features a distinguished set of technical papers. Keynotes will be provided by Glenn Hall, the Technical Director of Aardman Animations whose work includes Wallace and Gromit; and Professor Bill Buxton of the University of Toronto and Alias | Wavefront Inc.
    [Show full text]
  • Conceptual and Material Aspects of Media Art
    UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 Chapter 2 . ON THE THRESHOLD OF MATERIALITIES . CONCEPTUAL AND MATERIAL ASPECTS OF MEDIA ART 1 .1 How Conceptual is Paik’s Media Art? The moment Paik declares that TV Garden – just as Video Fish and Buddha TV – can be loaned to a Brazilian exhibition (1996) and arranged following Paik’s remote instruction marks the time when, in retrospect, the artwork acquires its quasi conceptual character.
    [Show full text]
  • Two Bridges (Manhattan)
    20 - Two Bridges (Manhattan) December 2016 Notice The opinions expressed in this report do not necessarily reflect those of the New York State Energy Research and Development Authority (hereafter “NYSERDA”) or the State of New York, and reference to any specific product, service, process, or method does not constitute an implied or expressed recommendation or endorsement of it. Further, NYSERDA, the State of New York, and the contractor make no warranties or representations, expressed or implied, as to the fitness for particular purpose or merchantability of any product, apparatus, or service, or the usefulness, completeness, or accuracy of any processes, methods, or other information contained, described, disclosed, or referred to in this report. NYSERDA, the State of New York, and the contractor make no representation that the use of any product, apparatus, process, method, or other information will not infringe privately owned rights and will assume no liability for any loss, injury, or damage resulting from, or occurring in connection with, the use of information contained, described, disclosed, or referred to in this report. NYSERDA makes every effort to provide accurate information about copyright owners and related matters in the reports we publish. Contractors are responsible for determining and satisfying copyright or other use restrictions regarding the content of reports that they write, in compliance with NYSERDA’s policies and federal law. If you are the copyright owner and believe a NYSERDA report has not properly attributed your work to you or has used it without permission, please email [email protected] ii Two Bridges/Beyond the Grid NY Prize Stage 1 Community Microgrid Feasibility Study Final Report Prepared for NYSERDA by: Two Bridges Neighborhood Council The Louis Berger Group Morrison & Foerster LLP Milestone Architecture WiFi-NY Lockheed Martin Stout Risius Ross Beyond the Grid Community Microgrid NY Prize Stage 1 – Task 1 1.0 INTRODUCTION TO SITE 20 The urban area being served is highly dense and vertical as shown in the photo below.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Appendix Nam June Paik’s Collaborators, Fabricators and Assistants1 Shuya Abe (born 1932) Japanese electrical engineer and co-inventor of the video-synthesiser. In 1963, he became Paik’s seminal collaborator. The Paik–Abe synthesiser used video feedback, magnetic scan modulation, non-linear mixing, and colourised images from an array of cameras in a TV studio.
    [Show full text]
  • 0V12-8676 16 NAME.SPACE, INC., Case [F1h 17 Plaintiff
    Flit-ED 1 MICHAEL B. MILLER mmiI1er(mofo .com 2 CRAIG II WHITNEY (CA SBN 217673) [email protected] 2012 OCT10 PM I: 13 3 ADAM J. HUNT adamhunt(i)mofo . corn CLERK U.S DISTRICT COURT CENTRAL DIST. OF CALIF. 4 MORRISON & FOERSTER LLP LOS ANGELES 1290 Avenue of the Americas 5 New York, New York 10104 BY _- Telephone: 212.468.8000 DR 6 Facsimile: 212.468.7900 7 MARK R. MCDONALD (CA SBN 13 700 1) 19A, mmcdonald(2lmofo . corn C 8 MORRJSON& FOERSTER LLP 555 West Fifth Street, Suite 3500 9 Los Angeles, California 90013 Telephone: (213) 892-5200 10 Facsimile: (213).892-5454 11 Attorneys for Plaintiff NAME.SPACE, INC. 12 UNITED STATES DISTRICT COURT 13 CENTRAL DISTRICT OF CALIFORNIA 14.1 WESTERN DIVISION 15 W 0V12-8676 16 NAME.SPACE, INC., Case [f1h 17 Plaintiff, 18 V. COMPLAINT 19 INTERNET CORPORATION FOR DEMAND FOR JURY TRIAL 20 ASSIGNED NAMES AND NUMBERS, 21 Defendant. 22 23 Plaintiff narne.space, Inc. ("name. space"), by and through its undersigned 24 counsel, brings this Complaint against Defendant Internet Corporation for Assigned 25 Names and Numbers ("ICANN"), and alleges as follows: 26 27 28 1 ny-1023 809 1 INTRODUCTION 2 1. name.space is the originator, operator and promoter of 482 Top Level 3 Domains ("TLDs"), which is the highest level identifier in an Internet "domain 4 name"such as .com or .gov. 5 2. ICANN controls and purports to be responsible for the entire worldwide 6 Internet Domain Name System ("DNS"). The DNS is an essential part of the 7 logical infrastructure that makes the Internet work by assigning unique domain 8 names to computers running web sites and other services including e-mail and 9 voice-over-IP, and by coordinating master computer servers which ensure that all 10 Internet users typing a domain name into their browsers reach the same "host" 11 computer and service.
    [Show full text]
  • The Occupation of Art and Gentrification
    Anonymous The Occupation of art and gentrification 1989 The Anarchist Library Contents Malignant Cultures.......................... 3 The Thin End of the Red Wedge ................. 4 “Holbein and the Bum”....................... 6 “Gentrification is Class War: Fight Back!” ........... 9 The Revolution will be Televised ................. 10 Conclusion............................... 11 2 Initially we intended to write an article analysing the role of art in trans- forming a run-down working class area, Lower Manhattan, New York City, for the benefit of capital. In the course of our research and discussion we realised that what was happening in Lower Manhattan wasn’t an isolated incident, but part of an increasingly significant capital accumulation process with art as a major protagonist, and involving a widespread transformation of urban space. We believe there is a general global tendency of culture to act as an element in the regeneration of the inner cities, adapting itself in different ways to different places. There seem to be two strategies at work: a) Art as state-manipulated gentrifier as in the Lower East Side, and b) Art as a fresh base for accumulation in areas ravaged by the decline of industry. (In the latter case the UK is closely following the US experiment in Pittsburgh and Chicago and applying them over here.) We hope to summarise b) in the conclusion while the part of the article devoted to Lower Manhattan concentrates on a). Because we believe that art is an integral aspect of the development of capitalist social relations we found it necessary to include some general observations on the role of art in capitalist society by way of an introduction.
    [Show full text]
  • Dark Fiber Electronic Culture: History, Theory, Practice Timothy Druckrey, Series Editor
    Dark Fiber Electronic Culture: History, Theory, Practice Timothy Druckrey, series editor Ars Electronica: Facing the Future edited by Timothy Druckrey with Ars Electronica, 1999 net_condition: art and global media edited by Peter Weibel and Timothy Druckrey, 2001 Dark Fiber: Tracking Critical Internet Culture Geert Lovink Dark Fiber Tracking Critical Internet Culture Geert Lovink The MIT Press Cambridge, Massachusetts London, England © 2002 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Set in Bell Gothic and Courier by The MIT Press. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Lovink, Geert. Dark fiber : tracking critical internet culture / Geert Lovink. p. cm. — (Electronic culture—history, theory, practice) Includes bibliographical references. ISBN 0-262-12249-9 (hc. : alk. paper) 1. Internet—Social aspects. 2. Information society. 3. Culture. I. Title. II. Series. HM851 .L68 2002 303.48'33—dc21 2001059641 Dark fiber refers to unused fiber-optic cable. Often times companies lay more lines than what’s needed in order to curb costs of having to do it again and again. The dark strands can be leased to individuals or other companies who want to establish optical connections among their own locations. In this case, the fiber is neither controlled by nor connected
    [Show full text]
  • Part 1: Historical Settings Reverse
    15 PART 1: HISTORICAL SETTINGS REVERSE ENGINEERING MODERNISM WITH THE LAST AVANT-GARDE Dieter Daniels The concept of an avantgarde, disavowed by postmodern theory, is actually more relevant today than ever before, but it has nothing to do with aesthetics. Only social situations, not artworks, qualify as avantgarde. We need access to alternative experience, not merely new ideas, for we know more about our being than we have being for what we know. Today only metadesign satisfi es the original criteria for avantgarde practice. Gene Youngblood01 THE LAST AVANT-GARDE? The case studies analyzed, documented, and contextualized in the Net Pioneers research project provide a representative cross-section of the creation of Net-based art between 1992 and 1997.02 An entire typology of these new art forms developed in just fi ve years. This astonishing dynamic emerged from the particularly intense meeting and interaction of art history and media history: a rapidly developing, international art found itself racing a fast-changing techno-sociological context. As the 1990s drew on, a new browser interface known as the World Wide Web transformed the Internet from a non-public, mostly academic and military medium (with a gray area comprised of nerds and hackers) into a 01 Gene Youngblood, “Metadesign: Towards a Postmodernism of Reconstruction,” abstract for a lecture at Ars Electronica, 1986, http://90.146.8.18/en/archives/festival_archive/festival_catalogs/ festival_artikel.asp?iProjectID=9210. All Internet references in this volume last accessed on November
    [Show full text]
  • BY LINCOLN ANDERSON | Clayton Patterson Is Busily, a Bit Frantically, Pulling Together the Second Annual Acker Awards
    L.E.S. documentarian is leaving, but first, Ackers http://thevillager.com/2014/05/22/l-e-s-documentarian-is-leaving-but-fi... L.E.S. documentarian is leaving, but first, Ackers Posted by: The Villager Clayton Patterson, right, with a guest at the closing-night party of Patterson and Elsa Rensaa’s “The $16 Burger Show.” BY LINCOLN ANDERSON | Clayton Patterson is busily, a bit frantically, pulling together the Second Annual Acker Awards. Set for the evening of Sun., June 1, at Theatre 80 St. Mark’s, the Ackers will celebrate the unique contributions of 40 talented members of the Downtown avant-garde community. Patterson organizes the event, which also has a San Francisco version run by writer Alan Kaufman. In a special touch, each honoree will get a decorated box containing 40 items, one item representing each honoree. “It’s like a chocolate box,” Patterson said. A little more than a month ago, an article on the front page of The New York Times Sunday Metropolitan section — in what came as a bombshell to many — announced that the Lower East Side documentarian would be leaving the hood for good to live in Austria. Headlined “Last Bohemian Turns Out the Lights,” it detailed his disillusionment with the city he once knew. “There’s nothing left for me here,” Patterson, 65, was quoted saying. “The energy is gone. My community is gone. I’m getting out. But the sad fact is: I didn’t really leave 1 von 7 L.E.S. documentarian is leaving, but first, Ackers http://thevillager.com/2014/05/22/l-e-s-documentarian-is-leaving-but-fi..
    [Show full text]
  • Nam June Paik: an Interview
    Nam June Paik: An Interview Nicholas Zurbrugg Division of Humanities Nathan, Bri sbane Queensland 4111 Australia Visible Language, 29:2 Nicholas Zurbrugg, 122 - 137 © Visible Language, 1995 Rhode Island Sc hool of Design 2 College St reet Providence, Rhode Island 02903 Nam June Paik, TV-Wall. Nam June Paik, a sem inal figure in video art cand idl y discusses his working processes and va lues in this interview. He goes on to comment on such diverse problems as technology, cost, collaboration, MTV and the artist's ego. Fluxus, its values and the arti sts associated with this movement becomes a central thread to his discussion. 124 Visible Language 29:2 Perhaps I could begin by asking you about your installation at Documenta 8 entitled: Beuys' Voice. What sort of things were you trying to do with that footage of Beuys' performance? Were you interested in registering it as a perfor­ mance? That's a good question. But artists, generally speaking, don't really set out to do any concrete objective. So, in my case, when I make an artwork, I start from a few given conditions. One condition was that I was invited to do a big work by Documenta. And then, we had just finished a perfor­ mance with Joseph Beuys in Tokyo, where I played a piano and he- he kind of screamed. It was quite an interesting performance- he liked it very much. Also, Beuys is popular in Germany, he's popular everywhere, but this piece was for Germany! So I thought, I'm going to do something with Beuys on that performance.
    [Show full text]
  • Reflections I
    Loving at a velocity where our minds and bodies were both optimizing on different planes of existence. Putting our bod- ies ahead of us, ahead of our minds, maintaining a distance, maintaining conditions and dynamics, choosing to stay where we put our bodies. Life as parametric. Do people build buildings to be walked around? I’m blind to my own vision! How do externalities dampen this reflex? How do they change/degrade/morph over time? Incoherency as situa- tion. Courier on colored paper. These modes seem outdated, they date themselves. Empty mind in a time of sunsets. Site with a lot of totalizing statements! I’m struggling to literally “buy” my own time back, but from who? Like a soft knot in the ruins. Who owns my time? How is the exchange rate a debt? An experience that refuses to offer meaningful fulfillment. There’s no complete/comprehensive translation of experi- ence. Consider the obliquessence, consider the walk, consid- er the incidental inconceivability of knowing the full scope of possibility. What’s provocative these days? None of this be- ing “acceptable.” Unethical opportunism. Let’s make sure to raise the questions. Let’s. Writing being looked over, repeat- edly being overlooked. Trying to reproduce the world. What’s really unthinkable these days? Relative autonomy or auton- omy in spite of a shell breaking out of context, desperate and self aware. A turtle breaking out a shell breaking out an egg. The person who loses control of the consequences. People usually don’t build a ship while sailing. Why are we our- selves? You can’t stage life but that doesn’t stop people from trying.
    [Show full text]
  • July 10Th, 2012 Rahul N. Merchant, Commissioner NYC Department
    ROSIE MENDEZ CHAIR - COMMITTEE COUNCIL MEMBER, 2ND DISTRICT PUBLIC HOUSING _______________________________ DISTRICT OFFICE 237 FIRST AVENUE, #504 COMMITTEES NEW YORK, NY 10003 HEALTH (212) 677-1077 HOUSING & BUILDINGS FAX: (212) 677-1990 LAND USE CITY HALL OFFICE HE OUNCIL T C LOWER MANHATTAN REDEVELOPMENT 250 BROADWAY, ROOM 1734 NEW YORK, NY 10007 OF _______________________________ (212) 788-7366 SUB COMMITTEE FAX: (212) 442-2738 THE CITY OF NEW YORK LANDMARKS, PUBLIC SITING & [email protected] MARITIME ISSUES July 10th, 2012 Rahul N. Merchant, Commissioner NYC Department of Information Technology & Telecommunications (DoITT) 75 Park Place, 9th Floor New York, NY 10007 Dear Commissioner Merchant, I write to you on behalf of my constituent— Mr. Paul Garrin, the Founder of name.space—a pioneering information technology company that has been operating out of the East Village since 1996. I respectfully ask that you give this situation the direct attention that it so clearly requires. Mr. Garrin contacted my office upon reading that the New York City Department of Information Technology and Telecommunications (DoITT) recently contracted with a Virginia-based company called Neustar to finance and submit a proposal for the .nyc Top Level Domain (TLD) to the Internet Corporation for Assigned Names and Numbers (ICANN).1 According to Mr. Garrin, since 1996, the rights to the .nyc domain have been owned and operated by his company—name.space—which originally created the domain. He offered testimony (appended here) to this fact in a 2008 Public Hearing of the City Council's Technology in Government Committee, on the subject of the .nyc Top-Level Domain.
    [Show full text]